I was studying for university, and I came across Hal Foster's essay that used Richard Prince's photographs and his Cowboy series as examples to illustrate his thesis on how neo-avant-garde movements strive to find "the real" in art. In Prince's specific case, he showed how, even through his retouched advertising images where logos are removed, one encounters a mediated image of the American cowboy myth. Prince's work is precisely ambiguous for this reason. The "real" aspect of the cowboy lies in its very construction from mythology, even if it departs from the commodification of cigarettes. **I believe the title "Reality Awaits" is a distortion of the title of Hal Foster's book** and, of course, his thesis (which is much more interesting than what I'm recounting here).

I imagine that saying "reality awaits" is a way in which the "subject" continues to insist on the search for that "real" which in Foster (following Lacan) has to do with the traumatic.

It can also be something more ambiguous, like a resignation that we can't access it.

Whether it's Julian's obsession with horses, or Fab's knowledge of art, even if it's a coincidence, it makes sense, haha.

  
Disculpen el ingles. 

  


The return of the real & reality awaits (album name theory)